Outer Harbor Railway Station - Making Old Tracks New Again mosaic at the station. South Australia
Bukki Yellaka Iamo Tarkarri - Making Old Tracks New Again
Welcome to Kaurna Country. We are not extinct – our Culture is alive and strong.
As day passes tonight – we say – Ninna Marni (hello) and Nakkuta (I will see you again).
Kaurna country extends from Crystal Brook and Clare in the north to Cape Jervis in the South, on the Fleurieu Peninsula to the Gulf of St Vincent in the west.
As a result of European colonisation many Kaurna people were forced on to Missions.
The Port Adelaide Enfield area boasts one of the highest Aboriginal populations in South Australia with many identifying either as Kaurna/Narungga/Ngarrindjeri.
This mosaic was specifically designed to acknowledge, respect and honour all three groups.
Today many of our descendants are reclaiming their Kaurna heritage with the revival of Kaurna language and the use of smoking and healing ceremonies to strengthen identity.
Narungga country (Yorke Peninsula) – can be seen to the west and is depicted by “Winda The Owl” a traditional Narungga Dreaming story.
Ngarrindjeri country is shown through the head and tongue of the Red Bellied Black Snake (used aesthetically) to show where the “River meets the Sea”.
Four fire circles offer direction depicting Kawanda (north) Patpa (south) Mari (east) Wongga (west).
We show traditional and contemporary Aboriginal movement patterns (pre and post European settlement) according to climate, availability of food, animal, plant, medicinal sources and ceremonies.
The Aboriginal flag (first launches in Adelaide in 1971) shows Adelaide – the traditional Tarndanyangga – Red Kangaroo Dreaming – and the fresh water of the River Torrens.
This also represents a sitting circle to show that male and female, young and old gathering for combined ceremonies.
The Red Bellied Black Snake is used aesthetically to show the length, width and depth of Kaurna Country and to separate the Mount Lofty Ranges from the sea.
Spears and the Seven Sisters Dreaming Story (shown by 7 stars) honour the traditional and contemporary separation of men’s and women’s business.
Only male Tauondi students and young Aboriginal boys were allowed to go to a significant Eastern Men’s site to collect wood from trees, to strip and burn them for the spears you now see.
Only women were allowed to travel along the Peninsula to collect shells and rocks.
Kaurna would retreat to the Foothills (shown to the east) for shelter and protection in winter and then returned to the Peninsula during summer months.
Next to it is a Southern women’s sitting circle. Coolamons and clap sticks show women. Spears show the male circle seen to the north.
For many Non-Aboriginal Australians the Outer Harbour Railway Station Represents the end of the line for locals.
But for us Kaurna, Narungga and Ngarrindjeri we are only in the middle of a new and exciting journey.
Let’s learn together on the path to making old tracks new again.
*Story and Interpretation by Katrina Power and personal dedication to Dr Doreen Kartinyeri and Auntie Veronica Brodie.
*With Special Thanks to Uncle Dookie O’Loughlin.
Outer Harbor Railway Station - Making Old Tracks New Again mosaic at the station. South Australia
Bukki Yellaka Iamo Tarkarri - Making Old Tracks New Again
Welcome to Kaurna Country. We are not extinct – our Culture is alive and strong.
As day passes tonight – we say – Ninna Marni (hello) and Nakkuta (I will see you again).
Kaurna country extends from Crystal Brook and Clare in the north to Cape Jervis in the South, on the Fleurieu Peninsula to the Gulf of St Vincent in the west.
As a result of European colonisation many Kaurna people were forced on to Missions.
The Port Adelaide Enfield area boasts one of the highest Aboriginal populations in South Australia with many identifying either as Kaurna/Narungga/Ngarrindjeri.
This mosaic was specifically designed to acknowledge, respect and honour all three groups.
Today many of our descendants are reclaiming their Kaurna heritage with the revival of Kaurna language and the use of smoking and healing ceremonies to strengthen identity.
Narungga country (Yorke Peninsula) – can be seen to the west and is depicted by “Winda The Owl” a traditional Narungga Dreaming story.
Ngarrindjeri country is shown through the head and tongue of the Red Bellied Black Snake (used aesthetically) to show where the “River meets the Sea”.
Four fire circles offer direction depicting Kawanda (north) Patpa (south) Mari (east) Wongga (west).
We show traditional and contemporary Aboriginal movement patterns (pre and post European settlement) according to climate, availability of food, animal, plant, medicinal sources and ceremonies.
The Aboriginal flag (first launches in Adelaide in 1971) shows Adelaide – the traditional Tarndanyangga – Red Kangaroo Dreaming – and the fresh water of the River Torrens.
This also represents a sitting circle to show that male and female, young and old gathering for combined ceremonies.
The Red Bellied Black Snake is used aesthetically to show the length, width and depth of Kaurna Country and to separate the Mount Lofty Ranges from the sea.
Spears and the Seven Sisters Dreaming Story (shown by 7 stars) honour the traditional and contemporary separation of men’s and women’s business.
Only male Tauondi students and young Aboriginal boys were allowed to go to a significant Eastern Men’s site to collect wood from trees, to strip and burn them for the spears you now see.
Only women were allowed to travel along the Peninsula to collect shells and rocks.
Kaurna would retreat to the Foothills (shown to the east) for shelter and protection in winter and then returned to the Peninsula during summer months.
Next to it is a Southern women’s sitting circle. Coolamons and clap sticks show women. Spears show the male circle seen to the north.
For many Non-Aboriginal Australians the Outer Harbour Railway Station Represents the end of the line for locals.
But for us Kaurna, Narungga and Ngarrindjeri we are only in the middle of a new and exciting journey.
Let’s learn together on the path to making old tracks new again.
*Story and Interpretation by Katrina Power and personal dedication to Dr Doreen Kartinyeri and Auntie Veronica Brodie.
*With Special Thanks to Uncle Dookie O’Loughlin.